ACADEMY POST-PRODUCTION
Rory Cantwell, founder of post-production agency Soho Editors, looks at how Final Cut Pro X handles audio, delivering a host of creative possibilities and access to a massive array of third-party plug-ins AUDIO MADE EASY IN FINAL CUT PRO X SOUNDS GOOD
WORDS RORY CANTWELL
O ne of the things I love most about Final Cut Pro X is the way it performs with audio and how incredibly responsive and accurate it is. When you’re trying to find that certain frequency of sound to either eradicate or enhance, it’s effortless. Equipped with the core toolset the task requires, the program offers limitless creative
possibilities, with great filters and a massive array of third-party plug-ins available. As an editor, audio is about responsiveness and feedback. If you’re trying to find that exact moment when one word ends and another begins, you need accuracy, clarity and control – and Final Cut Pro X delivers on all three counts.
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PRO MOVIEMAKER SPRING 2019
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